ODE TO JOY BY CRAIG LUCAS

Transcription

1 ODE TO JOY BY CRAIG LUCAS DRAMATISTS PLAY SERVICE INC.

2 ODE TO JOY Copyright 2015, Craig Lucas All Rights Reserved CAUTION: Professionals and amateurs are hereby warned that performance of ODE TO JOY is subject to payment of a royalty. It is fully protected under the copyright laws of the United States of America, and of all countries covered by the International Copyright Union (including the Dominion of Canada and the rest of the British Commonwealth), and of all countries covered by the Pan- American Copyright Convention, the Universal Copyright Convention, the Berne Convention, and of all countries with which the United States has reciprocal copyright relations. All rights, including without limitation professional/amateur stage rights, motion picture, recitation, lecturing, public reading, radio broadcasting, television, video or sound recording, all other forms of mechanical, electronic and digital reproduction, transmission and distribution, such as CD, DVD, the Internet, private and file-sharing networks, information storage and retrieval systems, photocopying, and the rights of translation into foreign languages are strictly reserved. Particular emphasis is placed upon the matter of readings, permission for which must be secured from the Author s agent in writing. The English language stock and amateur stage performance rights in the United States, its territories, possessions and Canada for ODE TO JOY are controlled exclusively by DRAMATISTS PLAY SERVICE, INC., 440 Park Avenue South, New York, NY No professional or nonprofessional performance of the Play may be given without obtaining in advance the written permission of DRAMATISTS PLAY SERVICE, INC., and paying the requisite fee. Inquiries concerning all other rights should be addressed to the Author c/o Dramatists Play Service, 440 Park Avenue South, New York, NY SPECIAL NOTE Anyone receiving permission to produce ODE TO JOY is required to give credit to the Author(s) as sole and exclusive Author(s) of the Play on the title page of all programs distributed in connection with performances of the Play and in all instances in which the title of the Play appears, including printed or digital materials for advertising, publicizing or otherwise exploiting the Play and/or a production thereof. Please see your production license for font size and typeface requirements. Be advised that there may be additional credits required in all programs and promotional material. Such language will be listed under the Additional Billing section of production licenses. It is the licensee s responsibility to ensure any and all required billing is included in the requisite places, per the terms of the license. SPECIAL NOTE ON SONGS AND RECORDINGS For performances of copyrighted songs, arrangements or recordings mentioned in these Plays, the permission of the copyright owner(s) must be obtained. Other songs, arrangements or recordings may be substituted provided permission from the copyright owner(s) of such songs, arrangements or recordings is obtained; or songs, arrangements or recordings in the public domain may be substituted. 2

3 Ode to Joy is for Nico Muhly

4 ACKNOWLEDGMENTS ODE TO JOY was commissioned by the Greenfield Prize at the Hermitage Artist Retreat in Englewood, Florida. The Hermitage Artist Retreat invites artists and writers in every discipline to work at its historic site on Florida s Gulf of Mexico. The Hermitage commissions the Greenfield Prize to bring into the world works of art that will have a significant impact on the broad as well as the artistic culture of our society. The play was completed under a commission from Playwrights Horizons. The author also wishes to acknowledge the generous time and energies of Bruce Rodgers, Patricia Caswell, Sharyn Lonsdale, Greg Leaming, Michael Edwards, Jason Bradley, Hannah Goalstone, Elizabeth Marvel, Bill Camp, Tim Sanford, and Christian Parker. Thanks to dramaturg Sydne Mahone, who knows how to ask the right questions at the right time. And a deep bow of gratitude to the man who believed in the play before it was whole may there always be artistic directors of such quality David Van Asselt. 4

5 ODE TO JOY was presented by Rattlestick Playwrights Theater (David Van Asselt, Artistic Director; Brian Long, Managing Director) at the Cherry Lane Theatre in New York City, opening on February 27, It was directed by Craig Lucas; the set design was by Andrew Boyce; the costume design was by Catherine Zuber; the lighting design was by Paul Whitaker; the sound design was by Daniel Kluger; the special effects were by James Hunting; the fight direction was by UnkleDave s Fight- House; the stage manager was Michael Denis; and the production manager was Eugenia Furneaux. The cast was as follows: ADELE...Kathryn Erbe BILL...Arliss Howard MALA... Roxanna Hope 5

6 CHARACTERS ADELE is a painter, anywhere from late 30s to mid 50s; determined, playful, intimidatingly bright, alert, deeply kind, sometimes combative; an alcoholic. BILL is a cardiac surgeon, anywhere from late 30s to mid 50s; born into wealth, classically educated, erudite, hard-working, passionate, somewhat solitary, widely traveled and experienced in a variety of milieus; an alcoholic. MALA is a pharmaceutical executive, anywhere from 30 to 50; fiercely ambitious, private, wounded somehow, refuses to speak of past trauma; a non-drinker. The actor playing MALA also plays BARTENDER. The actor playing BILL also plays TV VOICE and DR. WONG. PLACE & TIME Scene 1 Adele s building. Day, Scene 2 Bar. Night, Scene 3 Adele s former studio. Day, Scene 4 Restaurant. That evening, Scene 5 Bill s loft. Night, Interval Scene 6 Hospital. Nights, Scene 7 Bill s loft. Night, Scene 8 Mala s apartment. Midnight, Y2K. Scene 9 Park. Day, Scene 10 Adele s building. Late afternoon, New York City. 6

7 NOTES Pauses can be brief. Words in brackets are not pronounced. Slashes indicate possible points of over lap for the subsequent speaker. An ungrammatical comma is a hitch in the thinking or rhythm. 7

8 ODE TO JOY Scene 1 Adele s building. Day, Adele alone. She holds a paintbrush and is working on a large canvas unseen between herself and the audience. Soon she is overcome with physical pain. ADELE. This is the story of how the pain goes away. Or: How I got out of the way of me and everyone else Once upon a time, seven years ago, a Thursday afternoon She closes her eyes and a bar begins to glow with warmth. She walks into it. 9

9 Scene 2 Bar. Night, Bill is seated at the bar. Adele approaches the bar, receives a text, types, tries to get the bartender s attention. The bar is not officially open and the bartender has headphones on. ADELE. May I? Adele types. A very sad song is playing. Bill sobs. Beat. (To the bartender.) Yes, could I have a double vodka on the rocks and could you put on something a little less something joyful, thank you. (To Bill.) Would? I m Adele. Would you like to talk about it? I understand. Would you like me to leave you be? (Receives text.) Oh, please. (Types.) I ll just tell you what I would tell myself. Whatever it is Things have a way of changing. They look impossibly scary at the time and then at some point through the whatever you may be I m not saying life isn t tragic You also realize there are wonderful things that would never, could never have happened if the first thing Right? BILL. I m Bill. ADELE. Hi, Bill. Would it help to tell me what happened? (Text.) Oh my God. (Typing.) Some people make the simplest thing into a, paragraph of tax code. Sometimes it helps to just say it; it doesn t seem so terrible. BILL. My wife committed suicide; she was six months pregnant with our first child. We tried and tried. ADELE. Oh God. / That s BILL. But that doesn t vitiate your point. Short pause. That song, that s all. ADELE. Oh my BILL. And I think Well, I may have cancer. Yeah. ADELE. What kind? BILL. Prostate. 10

10 ADELE. Oh, isn t that the kind now, don t they have very good results if they catch it early? BILL. Yes. ADELE. Did they? BILL. No. ADELE. Oh. BILL. I mean they haven t even gotten to the point of saying it is cancer, it / might be. ADELE. I see, good. BILL. It isn t, I m sure it isn t. ADELE. Oh good. No. But just the Did he forget my drink? BILL. I think that s it. I think he s she. ADELE. I think you re right. On both counts. (To the bartender.) Could I? BARTENDER. Could you wait a sec? / We aren t actually open just yet. ADELE. Yeah, I / waited, I think you al BILL. She waited already! You poured it. ADELE. She doesn t care. I m glad to meet you. BILL. I ll know in a few days, it s just the cumulative the seeing you ADELE. Me? BILL. so obviously in love. ADELE. Oh, I m not in love. BILL. Well, in something with ADELE. No, no, I m in (Receives text.) Habit. That s what I Music has disappeared. Oh, thank God. They say you can t love a depressed person, because they re too in love with their crappy narrative. BILL. Uh-huh. ADELE. Don t worry, she will bring it. The same way you can t really have a relationship with a corporate lawyer. They re too busy fucking everybody else to give it to you with any BILL. Uh-huh. ADELE. real verve. I m lucky enough to have both. What do you do? Sorry. BILL. I m a / doctor. Overlapping, obliterating the word doctor, Beethoven s Ode to Joy plays loudly. 11

11 ADELE. Ow. The music stops, is then replaced by something appropriate. That was (To the bartender.) Very funny! She ll get it, don t Bill offers a sip of his drink. Thank you. Mm, what is that? BILL. Scotch. ADELE. I never drink scotch. BILL. Well now you have a new vice. ADELE. You don t have prostate cancer, Bill. BILL. How can you tell? ADELE. I can just tell. You are a winner. You don t. I Well, I don t want to Let s just say I have powers. BILL. You do? What kind of powers do you have? ADELE. Oh, all kinds. She ll bring it, she s not going to forget. BILL. She has forgotten. ADELE. No, my powers tell me that any second she is going to remember that drink and bring it. BILL. I m gonna get you your fucking drink. Bill climbs over the bar. ADELE. No no no. / Bill. Bill. BARTENDER. You re not allowed behind / the bar. BILL. I am allowed here because you left her drink to languish in sorrow and she is thirsty It s okay, forgiveness is / the key to everything. ADELE. Thank you! Thanks! BILL. I have powers too. ADELE. Yes you do. BILL. To winners. ADELE. Winners. BILL. Consistent winners. To those who hit the bull s-eye every time. It is inconsistency that drives us truly mad ADELE. Yes. BILL. If you reward a rat for performing a certain task, its brain shows an increased level of dopamine. ADELE. I love dopamine. BILL. The next time it s required to perform the task, the dopamine goes up in anticipation of the reward. ADELE. Oh. That makes sense. 12

12 BILL. But if you don t say thirty percent of the time then when it s asked to perform the task, it rewards itself even more. ADELE. It does? BILL. It s the uncertainty it s palliating. ADELE. Ohhh. BILL. Yeah. ADELE. Wow. BILL. Gambling. Any addiction. Superstition, religion all tied to the same bullshit. ADELE. How? Explain that, I get the gambling. BILL. Take a couple of rats ADELE. Oh, I dated em. Go on. BILL. put em in separate cages, reward them at arbitrary moments. Whatever each is doing before being rewarded, the rat assumes that s the thing that caused the reward; it will go on doing it from then on out. Father, Son, and Holy Ghost. ADELE. You don t believe in God. BILL. No. You? ADELE. No, I Yeeeah, I don t know, yeah, I think, I Yeah, I do. BILL. Are you sure? ADELE. No. But I think we re supposed to wrestle with it. No? BILL. Kierkegaard. ADELE. Is that who it is? BILL. Did you know people who believe in God are less apt to be depressed or commit suicide. ADELE. They are? BILL. What do you do? ADELE. I m interested. I m a painter, but No, I am. BILL. I believe you. ADELE. Interested, go on. BILL. You have a gallery? ADELE. No. I have a minuscule coterie of insane fans who love my work but who might just be saying that to keep me from hurling myself off a building; I barely eke by; but I ve never heard BILL. Where s your studio? ADELE. I m oh I m in transition right now. I m moving. BILL. In or out? ADELE. Well, it s always both, isn t it? BILL. Very good. How can I see them? 13

13 ODE TO JOY by Craig Lucas 1M, 2W Adele, hard at work on a large triptych, looks back on the two major loves of her life, which somehow managed to provide her with everything she needed to know about the art of living. Through these two tumultuous loves, Adele discovered both the limits of her powers and the true depths of her gifts. The road to redemption remains before her with the return of both loves to her side. Craig Lucas, the author of great toxic fairy tales for grown-ups, suspends the storybook whimsy to give us a more straightforward look at people battling with the ogres of contemporary life that is vitally and compellingly off-center An eloquent mess of a play beautiful, ugly, and familiar. The New York Times Hilarious and enlightening Craig Lucas has a gift of gab. Entertainment Weekly There is no more fearless a playwright than Craig Lucas ODE TO JOY is the most powerful thing he has turned out in years riveting, extraordinary drama. Lighting and Sound America A sensitive dramedy with much to savor Craig Lucas skill as a playwright lies in his ability to develop a mature, adult relationship that you grow to care about. TheaterMania.com ODE TO JOY thrives on the ways we either take control of our lives or let them eat us alive [Lucas] probes deep without ever losing sight of the infinite possibilities of life that keep the light at the end of the tunnel burning bright a notable, memorable success. TalkinBroadway.com Also by Craig Lucas MISSING PERSONS PRELUDE TO A KISS RECKLESS and others DRAMATISTS PLAY SERVICE, INC.